Lecture 8 : Architecture and Design

March 16th, 2009

As I listened to the lecture on architecture and design I couldn’t help but understand how common the language is among Danes. With almost every example I was able to draw connections back to my host family and their house. With such a broad range of topics it’s hard to focus in and dissect just one, thus I’ve decided to go through point by point highlighting just how Danish my host family really is.

1. Bricks: We live in a small, two-story brick house.

 2. Lights: In addition to a wall of windows in our living room, 

the house is also complete with a few Velux skylights.

3. Heating: The living room is complete with a fireplace 

and the bathroom floors are heated.

4. Fixtures: Our new kitchen has the Vola faucet 

and various doors use Jacobsen’s handles.

[http://www.lipsticktracez.com/reggie/2010/02/vola-color-faucets.php]

5. Lamps: We have two PH lamps. One over the kitchen table and 

one at the computer desk. My room is complete with Panton’s most famous lamp.

In addition to all of these typical Danish design elements we live north of the city one of the 5 fingers of the Copenhagen master plan. Being here in Denmark and interacting with these typical Danish elements on a daily basis has helped me realize how functional Danish design is. It inspires me to strongly consider the design choices I make in the future and return to the States with a strong critical eye.

Lecture 10 : Transportation Design & Architecture

April 16th, 2010

Cities have always been looking to increase the flow of traffic and people better. The ever-changing landscape of an urban area presents many challenges for designers as the city landscape can change rather quickly, while it may take longer for the transit infrastructure to catch up. Thus, as learned during the guest lecture, it is important more so than ever to ensure positive and long lasting effects from today’s transportation design and architecture.

The new 'bike friendly' Norreport Station

[http://www.inhabitat.com/2009/11/04/cobe-wins-first-prize-for-bike-friendly-norreport-station-in-copenhagen/]

Coming from a city with little to no public transit, I’m overall impressed by Copenhagen’s system, but it certainly has its faults. Each morning I arrive to a crowded platform at Norreport Station filled with strollers, suitcases and the occasional smoker. With 7 train lines running into the old station the morning commute can be quite hectic. The new station design looks to alleviate some of these problems while better integrating it into the city street (abolishing the current island form). I believe the new improvements will help the station to function much more efficiently, much like Denmark’s top rated metro system.

 Copenhagen's Metro

[http://commons.wikimedia.org/wiki/File:Nørreport_Station_07.JPG]

Throughout my time in Europe this semester I have experienced several different transportation networks and stations, including: Stockholm, Rome, Frankfurt and Berlin. Copenhagen’s S-Tog falls somewhere in the middle of these systems. Although the trains are large and comfortable, the platforms and stations are more camped than say Rome’s metro. My favorite stations were in Berlin and Frankfurt. Both very different each had important unique features that made them successful. Frankfurt’s Main Station is structured much like Europe’s great historic train hubs. All the lines leave and enter the building from a single point. Berlin on the other hand was split into multiple levels and served many different train lines (S-Bahn, U-Bahn, ICE, etc) in a very modern environment.

Frankfurt's Hauptbanhof

[http://placesonline.blogspot.com/2010_03_01_archive.html]

Berlin's Hauptbanhof

 [http://czech-transport.com/index.php?id=591]

Train stations are important focal points of your city. They form the first and last impression for visitors, and help to facilitate the flow of people about the city. I believe Copenhagen is on the right with their new Metro stations and hopefully the new Norreport design turns out to be just as beautiful and functional. 

Lecture 11 : Graphic Design

April 27th, 2010

I’ve always been intrigued by the world of graphic design. As a communications major and design minor at university, I often find myself analyzing the visual message we can share with our words. Films like Helvetica continue this dialogue and continue to invite the non-designers into a world where graphics and visuals become important. More so than ever, we see a demand for high quality work not only in an academic sense but in a solid visual presentation as well.

[http://therushmorefilmsociety.wordpress.com/2010/01/]

I found today’s lecture somewhat surprising considering the Danes do not have a strong foothold in graphic design, especially with graphic design officially coming into recognition in the 1950’s alongside the furniture revolution. This being said I’m still intrigued by the country’s commitment to open any and all design competitions to the public. Stamps and money are the most obvious two that come to mind, but at the same time these large public commissions are often dominated by the starts of the design world.

The IRMA example of allowing people to design bags for the grocery bags really stood out to me. Personalization of products is becoming more and more important today and this practice allows for more and more design perspectives to be shared with the world. The IRMA bags reminded me of a project that was started a few years ago in the United States known as Post Secret. A man in Maryland simply asked people to mail him postcards revealing their secrets. The practice of disclosing something near and dear to you has since turned into a phenomenal art project, which helps to relieve people of their strongest fears/emotions. Cards are often cleverly designed and have become quite beautiful/ Today, Post Secret has published several books and also tours the country with an exhibit of cards, in addition to weekly posts on their website.

[http://www.brandsoftheworld.com/categories/food/226684.html]

Will we continue to see a greater push for customizable graphic art in the future? I sure hope so. A lot can be learned from the perspectives of others. Additionally, competitions like IRMA and projects like Post Secret will help to broaden the graphics community. Hopefully companies will take after their examples to truly enhance the global impact graphic design can have.

[http://omabercerita.blogspot.com/2009/06/post-your-secret.html]

Furniture Design

February 16th, 2010

While there are many differences between the United States and Denmark, I believe one of the biggest differences is how people decorate their homes. In America we tend to decorate our houses based on the region we live in. The East coast may have more of a historic feel to the décor of their interior spaces. Florida residents usually stick to a tropical motif and Southern Californians may decorate with a Latino infused modern style. But houses are no means confined to a particular style based on their geographical location. Often times you find places that have themed rooms. Perhaps the kitchen features a collection of chicken objects, or the bathroom feels like an ocean snorkeling adventure. These trends seem highly unlikely in the Danish and Scandinavian home of today.

A painfully tacky American bathroom

[http://sherryspage.com/]

The role furniture plays in the life of Danes is huge. Most Danes would be able to recognize a chair or lamp and name the designer. In the United States people don’t know if you bought your lamp from Target or a high-end lighting store. Our furnishings and architecture isn’t always very honest. After spending time getting to know the different Danish designers and their products I aspire to afford them for my house in the future. But even should I spend several thousand dollars for a lamp or chair, most American’s wouldn’t even realize where it came from or why it’s considered good design.

[http://www.arquitectura.com/arquitectura/monografias/notas/casa_tugendhat/index_en.asp]

These thoughts led me to consider whom we decorate our homes for? Obviously we must be happy within our dwellings, but are we trying to impress others with our furnishings. In the States I think it’s important to have a lavish space and looks and feels cohesive. In Denmark, Danes strive to showcase important pieces of their country’s famous designers. However, because such time and consideration was put into these pieces they function more efficiently and therefore hold a greater importance to the culture. Take for example the PH lamp. Not only does it shield your eyes from direct light, it’s hung lower to tables to help facilitate a stronger connection between the seated persons. These strong intentions proclaimed through honest design is what I hope to emulate back in the states and hopefully inspire others to embrace.

Applied Art Between Nostalgia and Innovation

by Krisitan Berg Nielsen

February 19th, 2010

Upon my arrival in Copenhagen I knew very little about Danish Design. From what I had heard and read, Denmark’s capital was at the forefront of Scandinavian design and well respected around the work, but I was yet to learn why. Images of Kay Bojesen’s Monkey floated through my mind and I was excited to bring home such treasures for friends and family. Little did I know such a children’s toy would set me back over $150.

[http://www.illumsbolighus.dk/uk/product_detail.asp?mode=master&maID=27145]

Nielsen’s article focuses on the boundary between fine arts and applied arts. In many settings we idolize fine arts more so than applied arts. Perhaps we take for granted the work of the designer because in hindsight we find the function of design objects as obvious. However, after spending time in Denmark and visiting various museums and design shops, it’s clear this country has developed an appreciation for applied arts that puts them on the same pedestal as applied arts.

TOMS Shoes is a company that combines fine arts (print) with applied arts (fashionable shoe) to make a difference in the world by donating a pair of their footwear every time a pair is purchased. This 1:1 model is successful thanks to the help of beautiful and functional pieces.

[www.toms.com]

Using the Bauhaus as an example, Nielsen draws an interesting connection for me back to today’s Danish icons. During the glory years of the Bauhaus, the applied arts were not recognized as being equal to the fine arts. And in many cases today this is true. I believe designers have certainly found a niche in Denmark to promote them as equals. I personally hadn’t really considered the subject until this semester, but it makes sense that the two be viewed as equally skilled trades. As one who appreciates art and design of all sorts I find it silly to chose one over the other and the selection process somewhat demeaning to the community as a whole. In a world where problems are abound and funding for the arts is being cut, dividing artists and designers in two is a careless mistake. By fusing the practices and viewing them in the same light, as the Danes do, I think we can make a giant leap forward towards attacking global issues indirectly calling for the help of the arts/design community.

The power design can ultimately have on the world.

[http://www.jillm.com/beyond/2007/08/]

Reading Review: Danish Fashion

by Marie Reigels Melchoir

March 9th, 2010

Denmark’s designers are best known for their chairs. However, this article focused on how fashion is becoming a rising player in the country’s design arena. Although I have to say it seems as though there hasn’t been much development in the furniture area since the ‘golden age,’ I have trouble considering Copenhagen as a fashion design capital of the world. The article doesn’t try to articulate the city as a shining star yet, but from an outsiders perspective, I don’t believe the profession is quite as revolutionary as it was talked up to be.

Copenhagen's fashion week.

[http://girldir.com/news-events/]

Since living abroad people have asked me how people in Denmark differ from those in the United States. When speaking about a particular look or visual identity I have trouble expressing to people the uniqueness of their style. Do the men dress better? Certainly. In the States it’s nearly impossible to find a male over the age of 30 with product in his hair. However, there isn’t per say a distinct style or fashionable mark that stands out to me.

There are definitely products that are more common for Danes to wear or carry. For example, I found fur coats are much more popular here than in the United States. Additionally, Fjällräven packpacks are also a staple in the young Dane’s look. However, neither fur coats or these Swedish backpacks are uniquely Danish. In some senses I believe it is hard to separate Denmark’s style from the rest of Scandinavia. Having traveled to all four countries, there was no remarkable difference in the appearance of everyday people in any particular place.

[http://www.sayyestohoboken.com/2009/12/fjallraven-backpacks.html]

With this in mind, why is it important for Danish fashion to stand alone? Is there any reason it can’t be considered part of a Scandinavian look? The article makes it clear that the industry has come a long way and there certainly are elements that could be considered uniquely Danish, but I don’t see the need to force something that isn’t there.

Swedish fashion giant, H&M.

[http://commons.wikimedia.org/wiki/File:H_und_M_Logo_in_Hamburg.jpg]

Lecture 7 : Interior Design

I was a bit surprised the first time I stepped into my host family's house. One couch? A family of 4 (now 5) and only one couch? And where was the recliner? My initial reaction to the minimalist style that defines the Danes interior spaces was a bit surprised. Back home we have three different rooms for leisure seating each which two couches and at least one chair. But as I quickly came to realize, my host families set up wasn't all that different from their fellow Danes.

When describing how Danes live to people back home I being by explaining the fundamental white walls and unfinished hardwood floors. Next, I mention that rooms feel like museums with carefully selected Scandinavian furnishings often recognizable by majority of the population. PK lamps and skylights brighten the space while Tivoli radios and B&O televisions bring the room to life. The focus on interior is quite different from the United States. We spend our money on designer hand bags and flashy cars to display our wealth and sense of self worth. I find it no surprise that the Danes, living in a social welfare society, are more focused on what lies within -- their dwellings a fine example of this.

Although I've become quite fascinated with the Danish approach to interior furnishing, I've often questioned the homogeneity of  the art. Stores like Illums proudly display the chairs that helped put Denmark on the design map, but has Denmark's obsession with 'golden age' furniture crippled their ability to continuously press the envelope and design for the future? I'm certainly not criticizing the work of Jacobsen, Juhl and Panton, but simply questioning if their impact has been too strong on today's Danish homemaker.

There is no doubt my future living spaces will be inspired by Denmark's attention to quality and simplicity. A visit with my host family to a former neighbor's new Copenhagen apartment had me in shock by the sheer size of the space. The apartment for two is smaller than my studio for the next school year. Understanding Danish interiors goes beyond furniture with their size and organization speaking just as loudly. These elements cannot be forgotten when studying the typical dwelling in Denmark. Additionally, the inclusion of exterior space is almost equally important. Not only do expansive glass walls facilitate a discussion with nature, but they further enhance the quality of light in a space. Together these elements create an honest Danish living space.

Symposium 8 : Public Space, Public Life

The city of Copenhagen recently installed several new statues on Gammeltorv. What is it all about? How do people react and interact with them? If the statues were real human beings, would they react differently to it? Is Gammeltorv a good place for such an installation? Is there any other public space in Copenhagen that would be more suitable than Gammeltorv, and for what reason? Record your observations. 


The recent installation on Gammeltorv, titled Welcome HomeLess, depicts 13 various homeless people in life-like positions. Scattered among a fairly popular square in the middle of town, the project is a can't miss for people passing by. Various people about the square appeared quizzical upon noticing the very human looking statues and often took a slow and cautious approach to examen if they were in fact real. This believable quality strengthens the work's impact. Additionally, casting the characters in iron versus using live performers enhances the users interaction. People would be afraid to approach a performer, much like we swiftly walk past the homeless. These statues grant us the opportunity to completely soak in the emotion from their face and body.

Having never seen a group of art like this, I wonder if the city plans to move the status to various squares and streets around Copenhagen. Gammeltorv is a strong central location with access to the popular walking street Stroget and is bounded by the court house on one end, but the piece could also make an interesting impact in other parts of town. It would be interesting to see the collection outside of Parliament or the City Hall to make an even stronger political statement. Personally, I think Welcome HomeLess is a brilliant work. Historic cities are filled with so many statues of important people from the past that we often don't stop to admire. These statues stand out in a sea of others and force one to think. Think about wealth and poverty, sickness and health, and put into perspective what's truly important in our lives.

[http://www.welcomehomeless.org/about.aspx]

Form and Distinction

by Ole Thyssen

Thyssen leaves little to the imagination in his essay. He tells you as he sees it and doesn’t leave one much room to disagree. I do agree with a lot of what he says; however I do not view the systems and framework designers work in as a bad thing. There is a strong undertone to his writing that almost bashes a designer’s guidance by past experiences and internal dialogue. I believe the process of pushing ideas through our systems to fit the framework of a situation is what makes our work stronger.  Every idea we have, every problem we solve is shaped by direct and indirect experiences from our past. Aesthetic or functional, these guiding lights help to keep designers relevant and their work practical.

At this point we’ve reached a junction dividing the designer as an artist for themselves or for clients. Thyssen asserts this meeting place is not always compatible. I agree, but I think there can be solutions, each tailored to the unique situation. For example, last fall I took a Native American Literature course. Our instructor told a story about her friend, a Native painter. This painter took requests from clients as to what they were looking for in a commissioned piece; but before appeasing their wishes she first painted a picture for herself. It was over this initial picture that she would cover the canvas in a scene that fit the client’s likings. Here the two sides met in a manner that catered both sides.

[http://endicottstudio.typepad.com/endicott_redux/2007/04/index.html]

Design may be a process of reworking old ideas -- that’s okay -- some ideas are too good to let go of. The golden rectangle anyone? Discovered by the Greeks, the perfect harmony created by the contrasting long and short sides is still perceived as accurate today. Artists and designers that use these dimensions in their products are simply doing what works best. Thus systems help us, they make things work better and should be celebrated, rather than frowned upon. 

[http://commons.wikimedia.org/wiki/File:Golden_Rectangle_landscape.svg]

The Duplika Exhibition

by Kristian Berg Nielsen

The argument between arts/crafts and mass production is one that will never end. Ruskin and Morris have a strong case for themselves and Marinetti has a valid point as well. Obviously the arts/crafts community had much strong foot holdings in the past when mass production seemed something of a far out reality. But as the times changed and production methods shifted to a more streamlined and money efficient technique, the artists and craftsmen became a dying breed.

Don’t get me wrong; it’s sad to see them go, but have we really lost the arts and crafts type? Or have we simply reinvented artists and craftsmen? I find it interesting that the “Danish golden age” of furniture and even industrial design occurred after the industrial revolution, the biggest culprit in the push for mass-produced goods. The chairs of Jacobsen and Juhl certainly were not woodshed carved furnishings, however the first iterations should be considered of the arts/crafts genre.

[http://perpenduum.com/2008/05/finn-juhl/]

Therefore I’d like to think that today, that many of our arts and crafts, our hands made items, end up becoming mass-produced.  This means the quality and integrity still lies behind the item, the only difference is the wood was cut by machine not saw. Many of our mass produced designs are still very sensible. For example the Royal Copenhagen Collection. This blends the boundary between mass production and hand made. Additionally, the Pinocchio Rug sold at Illums incorporates hand created elements in a mass produced item.

[http://www.illumsbolighus.dk/uk/product_detail.asp?mode=master&maID=28630]

So put the fight between Ruskin/Morris and Marinetti to rest. Times change. Things evolve. We must not draw such black and white conclusions between mass-produced and arts/crafts, because by doing so we miss the subtle details. 

Lecture 3 : Product Design

February 9th, 2010


What in Danish Design is Borrowed and Where Then do We Find Ourselves in the Multitude of Creations?

In today’s globalized society nearly everything is a borrowed or upcycled idea. Danish Design is certainly no exception to this environment, but the best of designers are still able to project their personal expressions and intertwine their prospective with the muse that inspired them.

Take for example the Royal Copenhagen Collection. Inspired by porcelain exports from China, specifically blue and white glazes, the Danes found their own way of mimicking the beautiful white color of the eastern imports. Eventually this technique and color scheme became the backbone of the Royal Copenhagen Collection. Today the porcelain works have become iconic throughout Denmark and the rest of Scandinavia. In my host family’s house we drink from Royal Copenhagen teacups, eat from Royal Copenhagen plates and rest our eggs in Royal Copenhagen holders. The ‘borrowed’ blue and white porcelain from China has grown into it’s own phenomenon, culture and brand in a completely different part of the world.

Marked by a logo highlighting the hand painted craft, Royal Copenhagen pieces don’t go without notice. However, the logo that was once an emblazoned certificate of authenticity has turned into a branding campaign, which in my opinion detracts from the original intent of the collection. Created by request of the queen, the Royal Copenhagen collection was tastefully decorated in 1775. As any good product does, the collection changed with the times. Today we see Louise Campbell’s colorful, more contemporary, but still tasteful interpretation of the original design. However, we’ve also witnessed the brand fall into a sort of identity crisis/overload with the addition of plates and teacups that contain the trademark logo slapped over the front of them.

Removing the trademark from the bottom and wrapping it over the collection tells me Royal Copenhagen is no longer about quality, but identity. Sure, you can have both; take Polo Ralph Lauren for example. The clothing company produces a quality garment, however the garment’s demand is created by its logo. This very American ideal of money or property talking for you is what I see has infiltrated the Royal Copenhagen collection.

So yes, ideas are borrowed. And no, that isn’t bad. Unless the borrowed ideas carry you away from your core message and begin to pry you from your history. Royal Copenhagen was founded on the attraction to tastefully decorated blue and white porcelain products from the east. Today we are beginning to see these original ideals become over westernized and lost along the way. This is an important lesson designers must learn from. Danish designers are particularly good at blazing their own trails; but as soon as you loose yourself in borrowed ideas, the quality and integrity of your product begins to take a hit. Royal Copenhagen, don’t let this happen to you!

images [http://www.royalcopenhagen.com/]

Symposium 6 : Architecture & Design as a Vehicle for Creating a Welfare State

March 26th, 2010

Discuss your own personal consumption and how it is affected by your dwelling and social identity.

Back in high school we were required to take a test determining our ecological footprints. If the entire world lived like I did it would take over 6 Earths to sustain our current population (remember it’s always growing). After realizing some of the factors were out of my control (house size, vehicle MPG, etc.) I decided to complete the test as I wished to live in the future. Still bad news, we would need 3 Earths to sustain the ‘new and improved’ me.

Moving away to college has certainly helped lower my carbon/ecological footprint. I live in an apartment 1/3 the size of my house with 4 other people. I bike, walk or take the bus to school. I don’t eat as much meat, mainly because I can’t cook. And I always make sure to recycle empty beer cans and vodka bottles. But despite the best of efforts to lessen my global impact, I still live in America. Simply because of our public infrastructure, energy sources, urban sprawl, cultural norms, it is impossible to live a sustainable life – unless you moved into tree and dined on nuts and berries.

To analyze how exactly my footprint is affected by the country I live in and the lifestyle I lead, I took another ecological footprint test. The good news I have made an improvement over high school. The bad news is we would still need 5 Earths to sustain a population of Ben Tully. After analyzing the results I outperform most Americans in every category, except food – go figure. Although I may not make a pork roast or indulge in a big fat steak, eating meat (such as sandwich or salad meat) with every meal, along side a big tall glass of milk really balloons my footprint. I can blame growing up in “America’s Dairyland” (Wisconsin) for the milk issue, however I believe the meat issue stems to a cultural norm of Western culture.

For some reason, Western countries don’t think a meal is complete unless it includes meat. This mentality is silly and has caused an increase in poor quality food and harmful production practices (to humans, animals and the planet). Not to mention, portion sizes are HUGE in the United States and restaurants aren’t helping to solve the problem. The saying, you are what you eat, goes a long way in the context of our ecological footprint. If we are careless eaters we become careless environmentalists.

We can go on and on about climate change, but the truth of the matter extends much further than a documentary by the former US Vice President. By fixing habits and returning to a more natural and ‘green’ lifestyle we will not only help ourselves but the planet in return. And what more can we ask for then to be happy and healthy?

Required Independant Field Study 1 : Kunstindustrimuseet

Part-1: Carefully select any singular piece of DK design (specifically from the Post-war period) as seen/experienced in Kunstindustrimuseet’s exhibits today. Select a piece that you feel strongly embodies and typifies DK design as discussed in class and elucidated in the required readings.

Part-2: Select any one of the 7 themes below, and discuss your chosen DK design piece in terms of this thematic. You are moreover encouraged to take the chosen thematic and then focus it down further into a specific question of your own formulation (i.e. a question stemming out from the thematic). This thematic/question should be discussed concretely in terms of the specific design --and its designer-- that you selected in ‘Part-1’.

I have chosen to analyze Verner Panton’s S-Chair. Although it isn’t made of fabric and wood like most Danish chairs, it possesses key elements beyond materiality, which I believe, embody and typifies Danish design.

Panton's S-Chair

[http://italianclassics.eu/product.php?productid=16157]

1) First, the chair is innovative, forward thinking and different. Danish furniture designers are known for their new ideas – Arne Jacobsen’s Egg Chair anyone? Panton’s slick, psychedelic curves added another dimension to the old trade and the mass produce-able plastic made it easier for the average Dane to obtain one of his masterpieces.  Not only did he create a piece of furniture, but Panton also experimented with complete environments (another trademark of Danish designers) and found success especially with his lamps. Today, we continue to see exploration of the now “classic” S-Chair with modern colors, materials and sizes.

[http://www.stripaerobics.se/str.php?q=verner-panton-chairs]

2) Already touched upon, Panton’s S-Chair brings to the table a discussion of (#3) the roles and representations of individual craftsmanship coupled with mass production in Danish design during the post-war period. Yes the materiality of the chair allows for easy mass production (plastic), but so does its shape. The chair’s curves interlock well with one another providing one the opportunity to sack them. Additionally, the chair takes up less space. It’s tall, not wide. As for the individual craftsmanship of the chair? Well, beyond the initial design there isn’t much. Plastic is plastic, but I think Panton put enough thought in on the front end that the handcrafted label everyone looks for on furniture isn’t as important to this piece. It doesn’t hide anything. It doesn’t make you think it’s something it’s not. The S-Chair is very honest about being plastic and a product for mass production – and I’m okay with that.

[http://www.egodesign.ca/en/article.php?article_id=284&page=2]

Symposium 7 : Safety and Public Transit

April 20th, 2010

Compare and contrast the Copenhagen transit system to another on you know well, from home or somewhere else in the United States. Discuss what you believe are strong elements in Copenhagen’s public transportation and the areas you think the city could improve upon. What does Copenhagen do that might be applicable to your city? Does the city you chose have any examples or ideas that Copenhagen could adopt? Which transit system do you feel safer riding and why?

I am fortunate enough to attend university in a large metropolitan city with great public transit infrastructure, Minneapolis (Minnesota). Although similarly comprehensive to Copenhagen’s, there are key differences in the mode, price and public support of the two transit systems.

To begin, Minneapolis’ relies primarily on buses to move the masses; trains dominate Copenhagen’s public transit. Minneapolis once had a streetcar system but it was bought out and removed as part of General Motor’s push to sell more buses and cars during the 1940’s and 50’s. The city has recently completed a light rail train line and commuter rail line with plans for future expansion.

A former Minneapolis streetcar

[http://commons.wikimedia.org/wiki/File:Duluth_streetcar_265.jpg]

Another primary difference between the two systems is the price to ride. In Minneapolis, $1.75 will get you a ticket to ride anywhere on the buses and trains for up to 2 and ½ hours (transfers included). I think the reason their prices can remain lower counts for the fact that the US has a larger tax base to pay for the constructions with.

Minneapolis city bus with bike rack

[http://www.metrocouncil.org/directions/transit/transit2006/CommuterChallengeApr06.htm]

Although ridership has been increasing, especially around the university and northern suburbs, expansion of the rail line is increasingly difficult, as people fear large government spending during the current recession. Here in Copenhagen it seems just the opposite, that people continuously encourage the expansion of public transit all the time.

No public transportation network is perfect. In Minneapolis, there is a strong push to further develop bike lanes. In fact, the city mandates a percentage of spending for road construction be spent to add/improve existing lanes for bicycle traffic. This is something Copenhagen has mastered with their implementation of ‘green waves’ during rush hour. The leisure biking culture also differs between the cities, as Minneapolis has many more bike paths surrounding the city, which fosters bike riders at a younger age in a traffic-less environment.

City biking improvements in Minneapolis

[http://www.minnesotapersonal-injurylawyer.com/hennepin-minneapolis-bike-box-bike-lane.html]

When it comes to busses, Minneapolis could also learn a thing or two from Copenhagen. Denmark’s capital city has bus shelters and route information at every stop. In Minneapolis, you only find this info at major intersections. All other stops are marked with a simple ‘Bus Stop’ sign, which often doesn’t include even the route number. Text updates on late/early buses would also be appreciated for those rainy spring, or harsh winter days.

Minneapolis bus stop

[http://blog.lib.umn.edu/levin031/transportationist/2006/11/on_a_streetcar_named_developme.html]

Copenhagen bus stop

[http://commons.wikimedia.org/wiki/File:Bus_stop_Copenhagen.JPG]

As much as I can complain about changes I’d like to see in Minneapolis, the quality of public transit in the city far outdoes my hometown of Milwaukee. Although pushing for a light rail system, trains running throughout downtown within the next decade don’t seem likely. Milwaukee’s buses also have their own set of stereotypes, often dominated by poorer people, driving away the common traveler. Given what I’ve seen in Minneapolis and Copenhagen I hope more cities continue to push themselves to develop better, faster and smarter public transit systems.

Required Independent Field Study 1 : It's A Small World / DDC

Select at least 3 projects on display in the ”it’s a small” exhibit and discuss how these relate to the 4 main exhibit themes: Sustainability, Human Scale, New Craftsmanship and Non-Standardised Praxis.

It’s A Small World was an interesting exhibit. I understand the message they were trying to share by bringing the world and its objects closer to you on a more relatable ‘human scale’, but I don’t feel that was fully accomplished in every piece. I visted the exhibit with my studio class, and Tina, one of the designers, said there were people from seven different groups working on the project… the mixing and mashing of ideas was rather obvious. That being said, some of the pieces did a better job than others of crossing over all four themes.

Sun Tiles – I really liked these. Green technology and energy is certainly the way of the future (especially with all of our tech gadgets) and it was interesting to see this light and flexible take on what we normally think of as clunky/roof resting structures. For me the solar panels did the best at covering all four themes. Sustainable, yes! New Craftsmanship, certainly. Non-standard praxis, I’d say so. Human Scale, I think we could see them used all over the places we live and work come the future.

Sun Tiles

Soul Wash – I didn’t understand this. Sure, running through carwash-like gigantic, swirling, suspended brushes is fun but I’m not sure what it has to do with sustainability and new craftsmanship. Non-standard praxis, sure… I typically don’t run through the car wash and I guess it provides the cleansing experience on a so-called ‘human scale’, but this idea just felt like a stretch for me.

 Soul Wash

L. Campbell’s Chairs – Once again I’m somewhat baffled. Yes her designs are non-standard and the craftsmanship is new and unique, but I’m just don’t see where sustainability and human scale comes into play. Perhaps the ‘human scale’ aspect is realized in the fact we are talking about a chair, which is built for humans, but to me that is an obvious connection. For an exhibit to inspire me I want it to draw conclusions and make connections I wouldn’t have otherwise seen.

'Very Round'

Perhaps not every item was suppose to span all four themes, however it seemed like they should even if that wasn’t maybe the designer’s actual goal. Was it my favorite exhibit? No. But I did find its message important, even if the execution didn’t strike a chord with me.

PHOTOS [http://www.designboom.com/weblog/cat/8/view/7434/copenhagen-design-week-09-its-a-small-world-exhibition-at-the-danish-design-center.html]

Required Independent Group Field Study 2 : Danish Architecture Center

Reflecting upon the group walking tour, now go out and map your own route through your favourite part of the city with what you consider to be the best ‘civic design’ attributes. The map should be made with the intention that you could give it to one of your fellow DD Classmates as an exciting design exploration guide under the theme ‘CIVIC DESIGN GEMS IN COPENHAGEN’.

The city of Copenhagen in itself is a ‘civic design gem,’ however there are certainly a few highlights you can’t miss on your visit to the Danish capital. If I wanted to show someone around the best parts of the city this is the route I would follow.

1. We would arrive to town via one of the three types of trains (metro, S-tog, or regional) at Nørreport Station. Nørreport is the one place where the three meet and is a major transit lifeline of Copenhagen. Beyond the trains, the first things you notice upon emerging at street level are the hundreds of bicycles parked at the station. These rows of bike racks speak volumes to the important role they play in transit around the town.

2. Next we’d make our way north before turning east to head into King’s Garden. Although there are many parks to pick from, Kings Garden has several distinctive features. First, it is located in the middle of the city, showing Denmark’s strong commitment to the environment and green space. It also showcases a royal castle that speaks to the country’s allegiance to its past while still being a progressive place.

3. After making our way east through the garden we would arrive next at Amalienborg Palace. Although a private residence, the Palace courtyard is open to visitors. I believe this is an important stop because it shows how welcoming and open the country chooses to be. Additionally the palace sits in the middle of an axis that extends from the marble church to the new Royal Opera – a very important series of buildings.

4. Following our stop to see the Queen we’d continue south to the beginning of Nyhavn and walk past the colorful cafes to the beginning of Strøget. These two places are worth noting because they eliminate car traffic and give the street back to the pedestrian. Additionally, Nyhavn rests next to the harbor, which illustrates its importance to the city. Continuing south on Strøget, one quickly discovers how strongly the pedestrian (and cyclist) is considered in the planning and redevelopment of the city.

5. As Strøget comes to a halt, we find ourselves in the City Hall Square. This place is important because it serves as a central bus hub for Copenhagen. Not to mention the City Hall where important civic planning decisions are made is located adjacent to the bustling traffic center.

6. Finally, we’d finish our tour at the Harbor Baths to take a dip and cool off after a long and thorough tour. The Baths are important because they prove the city has cleaned up the harbor water and is constantly trying to make it a place for the people.

Lecture 9 : Civic Planning

Tuesday, April 13th 2010

Urban planning practices in the United States and Europe differ greatly. The US designs for the automobile, whereas in Europe there is a much stronger focus on public transit. The starting point for planners is also very different. Europe has a rich history with old buildings and urban organization to show for it. In the United States, urban planners take more of a clean slate approach to their designs, less likely to come across a man made lake used for defense or a 2000-year-old building.

I always thought large scale when referencing urban planning (perhaps because I’m from the States), but this lecture challenged me otherwise. One of the most important parts of urban design is how we interact with it on a smaller, more ‘human scale.’ Better-planned details 1) can lead to cost savings during renovations or alterations and 2) make an environment more (or less) inviting.

One of the most charming features of European cities is their use of cobblestone. What I once believed was only for looks, actually serves a higher purpose. Rather than laying slabs of cement and pouring tons asphalt that cover immense surfaces, cobblestones allow for quick and easy access to the utilities running below them. Jackhammers aren’t needed to bust through dense layers of concrete only to tear up an entire street. The cobblestone limits the effects of repairs and installations below the street level and also lessens the overall costs of construction.  Cobblestone also makes it easier to install signposts, bus shelters, bike racks, etc because of its easily altered connectivity. It may take longer to install initially, but the accessibility of cobblestone certainly makes its use worth a second look.

European cobblestone

[http://www.cooltownstudios.com/site_index/2005/07/]

Road construction in the States

[http://www.arscott.ca/services.php]

Staying on the topic of cobblestone, I also found it interesting how European urban design planners specify the program of a place simply by the selection of their materials. Rather than hanging tacky and tasteless signs to ward of bike travel on a specific street, designers might employ cobblestone to create un-enjoyable biking terrain. Additionally the way designers might deter one kind of traffic, they may also invite another. Expansive squares and INCREASING pedestrian walkways further invite people on foot to the city center (while simultaneously driving out the car). Everything from LED lights in the pavement to expanses of pink carpet sounds peculiar, but I think it is a smart way to continuously push for more foot traffic.

Funky details further define spaces and serve as a reason to experience a city. I can’t help but notice while traveling in the US that every city has manhole and tree covers made by The Neenah Foundry Company. Elements such as these only express the homogeneity among US cities, further stripping them of an individual and welcoming qualities. Why should someone bother visiting Indianapolis if they’ve seen it all in Cleveland and Milwaukee too?

[http://www.flickr.com/photos/raynorgrace/830253287/in/set-72157600855949113/]

I however, must commend Minneapolis, MN for not only building a light rail train network, but for allowing local and national artists to compete for train station designs. This project to me sums up what we should be focused on! Designing on the large and small scale. Not to mention that all the stations are all made of brick platforms. This material made it easier to extend the stations to accommodate longer rail cars that were eventually added due to increasing ridership!

[http://www.subwaynut.com/minneapolis/28th/index.html]

So I say three cheers to Europe’s (and Minneapolis’) urban planners! May the rest of the United States someday catch onto your ideals and incorporate them into more public spaces.